DOCSLIB.ORG

Classic Albums: the Berlin/Germany Edition

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Classic Albums: the Berlin/Germany Edition Course Title Classic Albums: The Berlin/Germany Edition Course Number REMU-UT 9817 D01 Spring 2019 Syllabus last updated on: 2​3-Dec-2018 Lecturer Contact Information Course Details Wednesdays, 6:15pm to 7:30pm (14 weeks) Location NYU Berlin Academic Center, Room BLAC 101 Prerequisites No pre-requisites Units earned 2 credits Course Description A classic album is one that has been deemed by many —or even just a select influential few — as a standard bearer within or without its genre. In this class—a companion to the Classic Albums class offered in New York—we will look and listen at a selection of classic albums recorded in Berlin, or recorded in Germany more broadly, and how the city/country shaped them – from David Bowie's famous Berlin trilogy from 1977 – 79 to Ricardo Villalobos' minimal house masterpiece Alcachofa. We will deconstruct the music and production of these albums, ​ ​ putting them in full social and political context and exploring the range of reasons why they have garnered classic status. Artists, producers and engineers involved in the making of these albums will be invited to discuss their seminal works with the students. Along the way we will also consider the history of German electronic music. We will particularly look at how electronic music developed in Germany before the advent of house and techno in the late 1980s as well as the arrival of Techno, a new musical movement, and new technology in Berlin and Germany in the turbulent years after the Fall of the Berlin Wall in 1989, up to the present. As students 1 listen to classic albums, they’ll consider Berlin’s slow transformation from divided city in those anarchic and pioneering days of the early 1990s into the bustling, world-class nightlife capital it is today—alongside the changing and controversial cultural and socio-economic landscape of the city, and how Berlin continues to retain its uncompromising, avant-garde ethos. On one hand, the phrase “classic albums” suggests pre-eminent status, high standards, top quality. On the other hand, the term classic can infer elitism and exclusion, and, too often, the work of white male rock artists is often venerated in this tradition at the expense of women and people of color subjects. Given that what gets constituted as “classic” or “canonical” is a vexed issue in popular music, as it is in literature and other fields, this class will also look at non traditional classics, music that was once critically panned — as well as albums by women that might be easily reclassified as “classic” especially if we interrogate the criteria used to make the assessments in the first place. Students will be expected to write a final research paper drawing on issues discussed in class and in the readings. Course Objective 1. To educate students about key German artists, seminal albums by international artists that were recorded in Berlin and indispensible/classic electronic music recordings; 2. To develop students’ understanding and appreciation for the history, culture, and politics of German post-War popular music and sound, with a specific focus on electronic, avant garde and experimental traditions; 3. To teach students about the history of popular music and sound in the city of Berlin before and after the fall of the Wall; to connect Berlin’s current nightlife and music scene to political, economic and social developments of the past with an eye to complex intersections of race, gender, sexuality, class and nationality; 4. To inform students about links and comparisons between US and German/European music cultures, and specifically the connections between Berlin and US cities like Detroit in the formation of genres like Techno; 5. To encourage greater sophistication in artistic appreciation, critical thinking, research and writing skills. Assessment Components Class Participation – 10% Everyone is required to participate in class discussion, present arguments and ask questions of the instructor and guests. This course, in particular, relies upon the full participation and engagement of students. Be involved; be thoughtful; be respectful. Dialogue and debate are encouraged. If there is something you do not understand, or an idea comes to mind, do not hesitate to ask. Quizzes – 30% Students are given six quizzes over the course of the semester, to test their knowledge of the readings and their grasp of concepts. Quizzes are usually five questions and are returned back to students at the start of the next class. Glossary / Conversation Exam – 25% 2 You will be given a 10-minute exam based on vocabulary terms taken from the readings and class discussions. A more detailed description is available on NYU Classes. Please book a time-slot with Professor Heiko Hoffmann for the middle of the semester, times TBA. Final Research Paper – 35% You may write on a topic of your choice. You are required to compose a substantive research paper of 2,000 words, including a works cited section. Final papers are due via email before the last class at 5 PM and as a print-out in class. The paper must use 1-inch margins, a 12- point font and double-spacing; use single breaks between paragraphs. There will be up to 50 pages of reading each week, of varying intensity, films to be watched online and music to be listened to. Please carve out enough time each week to properly review this material. Streaming links for films will be provided, and a Spotify account is necessary for music listening. A complete breakdown of what you need to listen to and when you need to listen to it will be issued by the instructor. Failure to submit or fulfill any required component may result in failure of the class, regardless of grades achieved in other assignments. Required Texts All literature is supplied via NYU Classes. NYU Berlin Library Catalogue:​ NYU Berlin Library Catalogue or follow the link on NYU Berlin's website (Academics/Facilities ​ & Services). Internet Research Guidelines to be discussed in class *** 6 Feb 2019 no Classic Albums class today. *** Session 1 – 13 Feb 2019, 5pm *** please note change of time and place *** SPECIAL FIELD TRIP TO MUSIKINSTRUMENTENMUSEUM We will visit the Musikinstrumentenmuseum to see the Mixtur-Trautonium and other early electronic instruments followed by a silent movie screening. Students should meet the ​ instructor at 5pm s​harp at the entrance to Tiergartenstrasse 1, nearest U-Bahn stop is Potsdamer Platz. Electronic Pioneers: From early synthesizers to the WDR electronic music studio and Stockhausen Music to listen to: Oskar Sala “Five Short Pieces for Trautonium”, Karlheinz • ​ Stockhausen “Gesang der Jünglinge / Kontakte” Literature: Simon Crabb “WDR Electronic Music Studio” (120 Years of Electronic • ​ ​ Music, 2017), Geeta Dayal “Soundings: Oskar Sala and Alfred Hitchcock's ‘The ​ Birds’” (Sight & Sound, 2015), Jack Needham “Cosmic Messenger: How Karlheinz ​ ​ Stockhausen Shaped Contemporary Electronic Music” (Vinyl Factory, 2017), Thomas ​ ​ Patteson – excerpt from Instruments For New Music (114-125) ​ ​ Film to watch before class: Oskar Sala – Klang und Verwendung (1996, 5min) • ​ ​ ​ 3 Session 2 – 15 Feb 2019, 6:15pm *** please note change of time and place *** INTRODUCTION AND OVERVIEW Students are expected to briefly talk about a German artist they know or a musician whose music they associate with Berlin. Please send the name of the artist by mail to Heiko before ​ Wednesday, February 13th. Music to listen to before the first Class: “Milestones in German Electronic Music” playlist on Spotify Session 3 – 20 Feb 2019 CAN – TAGO MAGO (1971) Music to listen to: Can „Tago Mago“, “Krautrock“ playlist on Spotify Literature: Alan • ​ ​• ​ Warner – excerpt from Tago Mago (3-15, 108-124, 2015), Douglas Wolk “Can: Tago ​ ​ Mago Review” (Pitchfork, 2011), Rob Young & Irmin Schmidt – excerpt from All Gates ​ ​ ​ Open – The Story of Can (138-164, 2018) ​ Film to watch before class: Krautrock: The Rebirth of Germany (2009, 58 min) • ​ ​ ​ Session 4 – 27 Feb 2019 NEU! – NEU! (1972) There will be a quiz at the beginning of class. Music to listen to: Neu! „Neu!“ • ​ Literature: Alex Abramovich „The Invention Of Ambient Music“ (New Yorker, 2016), • ​ ​ ​ Biba Kopf “Neu! On The Road” (Wire, 2001), David Stubbs “Riding through the Night: ​ ​ Neu! and Conny Plank” – excerpt from Future Days (243 – 275, 2014) ​ ​ Film to watch before class: Conny Plank – The Potential of Noise (2017, watch first • ​ ​ ​ 40min) Session 5 – 6 March 2019 DAVID BOWIE – LOW (1977) Music to listen to: David Bowie „Low“, „Heroes“, „Lodger“, Iggy Pop „The Idiot“ • ​ ​• Literature: Laura Snapes “David Bowie: Low Review” (Pitchfork, 2016), Simon ​ ​ Reynolds “Bowie’s Berlin” – excerpt from Shock and Awe (541 – 572, 2017) ​ ​ ​• Radio show to listen to: “Focus On Brian Eno” (NTS Radio, 2018) Film to watch before class: Hansa Studios By The Wall – 1976 - 1990 (2018, 90min) • ​ ​ ​ Session 6 – 13 March 2019 KRAFTWERK – TRANS EUROPE EXPRESS (1977) There will be a quiz at the beginning of class. Music to listen to: Kraftwerk “Trans Europe Express”, “Katalog12345678” Literature: • ​ ​• ​ Lester Bangs „Kraftwerkfeature“ (Creem, 1975), David Buckley - excerpts from ​ ​ Kraftwerk: Publikation (111 - 127), Mike Rubin “The Heritage of Kraftwerk on Funk and ​ Techno” (New York Times, 2009), Tim Sommer “How Kraftwerk Resurrected Pop for a ​ ​ Torn Germany” (Observer, 2017), David Toop - excerpt from "Rap Attack" (Faber Book ​ ​ ​ of Pop, 544 - 546) ​ Film to watch before class: Kraftwerk: Pop Art (BBC, 2013, 52min) • ​ ​ ​ ​ ​ 4 March 20th: Midterm Exam (please
Load more

Recommended publications
  • Download Book ^ Can's Tago Mago » E1MZS7WYAL2L
    ZVIMZOGVKZMA < eBook < Can's Tago Mago Can's Tago Mago Filesize: 4.03 MB Reviews Simply no words to explain. It really is basic but shocks from the fifty percent of the ebook. I am just happy to explain how this is the finest pdf we have read within my personal life and could be he best ebook for possibly. (Blair Monahan) DISCLAIMER | DMCA K3QZLZZUT07P ^ Book < Can's Tago Mago CAN'S TAGO MAGO To get Can's Tago Mago PDF, please access the button under and save the file or get access to additional information that are in conjuction with CAN'S TAGO MAGO book. Bloomsbury Publishing Plc. Paperback. Book Condition: new. BRAND NEW, Can's Tago Mago, Alan Warner, Finally, a brilliant exploration of the German rock band Can's 1971 album Tago Mago. This hugely unique and influential album deserves close analysis from a fan, rather than a musicologist. Novelist Alan Warner details the concrete music we hear on the album, how it was composed, executed and recorded--including the history of the album in terms of its release, promotion and art work. This tale of Tago Mago is also the tale of a young man obsessed with record collecting in the dark and mysterious period of pop music before Google. Warner includes a backtracking of the history of the band up to that point and also some description of Can's unique recording approach taking into account their home studio set up. Interviews with the two surviving members: drummer Jaki Liebezeit, keyboardist Irmin Schmidt and bassist Holger Czukay make this a hilariously personal and illuminating picture of Can.
    [Show full text]
  • Hugo Hamilton's Berlin Trilogy
    Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title "Struck with Ireland fever": Hugo Hamilton's Berlin trilogy Author(s) Schrage-Frueh, Michaela Publication Date 2019 Schrage-Frueh, Michaela. (2019). "Struck with Ireland fever": Publication Hugo Hamilton's Berlin trilogy. In Deirdre Byrnes, Jean Information Conacher, & Gisela Holfter (Eds.), Perceptions and perspectives: Exploring connections between Ireland and the GDR. Trier: Wissenschaftlicher Verlag Trier. Publisher Wissenschaftlicher Verlag Trier Link to publisher's http://www.wvttrier.de/top/beschreibungen/ID1666.html version Item record http://hdl.handle.net/10379/16391 Downloaded 2021-09-25T05:41:27Z Some rights reserved. For more information, please see the item record link above. “Struck by Ireland-Fever”: Hugo Hamilton's Berlin Trilogy Michaela Schrage-Früh Hugo Hamilton is an Irish-German writer best known for his memoir The Speckled People, published in 2003, which offered a poignant account of his own difficult childhood as son of a German mother and Irish father in Dublin in the 1950s and 1960s. However, Hamilton also spent one year living in Berlin in the mid-1970s and many of his observations in his debut novel Surrogate City, published in 1990, shortly after the fall of the Berlin Wall, have been based on his experiences during that sojourn and subsequent visits.1 While Surrogate City is set in an unspecified time in pre-unification West Berlin2, with the reality of the Wall and the world beyond it lingering like a shadow in the fringes of the characters’ consciousness, his third novel The Love Test, published in 1995, takes place right after the collapse of the GDR.
    [Show full text]
  • WATCHMOJO – the Life and Career of David Bowie (1947-2016)
    WATCHMOJO – The life and career of David Bowie (1947-2016) https://www.youtube.com/watch?v=Lan_wotkon0 [Fashion] Welcome to watchmojo.com and today we're taking a look at the life and career of David Bowie. [Queen Bitch] David Robert Jones was born on January 8 1947 in Brixton London England. Though he showed musical interest at a young age it was only in the early 60s that he really pursued the art. He started by joining several blues bands but branched off on his own when they had little success. Renaming himself David Bowie he released his self-titled debut in 1967. [Who's that hiding in the apple tree clinging to a branch] Its lack of success led Bowie to participate in a promotional film called Love you till Tuesday which showcased several of his songs. A particular interest was Space Oddity : that track became a hit after it was released at the same time as the first moon landing. [Ground control to Major Tom] His sophomore effort of the same name however was another commercial disappointment. [The man who sold the world] To promote his third album The man who sold the world, Bowie was put in a dress to capitalize on his androgynous look. [Life on mars] [Ziggy Stardust] In 1971 a pop influenced record called Hunky-Dory came out and was followed by the creation of his flamboyant Ziggy Stardust persona and stage show with backing band The Spiders from Mars. Then came his breakthrough record The rise and fall of Ziggy Stardust and the Spiders from Mars which climbed the charts thanks to his performance of the single Star Man on Top of the Pops.
    [Show full text]
  • Stockhausen's Cosmic Pulses
    Robin Maconie: Stockhausen’s Cosmic Pulses 2009–14 (copyright) 1 Stockhausen’s Cosmic Pulses ROBIN MACONIE Some people chase tornados; others go after black holes. From the late 1950s Stockhausen was fascinated by the idea of sounds in rotation and how to realise them in a technical sense, by means of an array of loudspeakers. Completed in 2007, Cosmic Pulses is Stockhausen’s final electronic composition.1 For a number of reasons I believe the composer knew it would be his last. The work was completed in a rush. In many ways, notably in terms of the sound material, which is very basic, it remains a sketch. The music can be described as a massive rotating sound mass, composed in 24 separately spinning frequency layers. The work thickens gradually to 24 layers, then reduces symmetrically upward in an ascending spiral that ends quite abruptly. An audience may experience the sensation of falling headlong into a black hole, or, if one is an optimist, of being carried aloft on the whirlwind like Dorothy in The Wizard of Oz. A tornado is an effect of a natural imbalance between temperature layers in the atmosphere, tipped into motion by the earth’s rotation, which moves progressively faster toward the equator. The rotating air mass that results spirals upwards and generates a powerful electrical charge. A black hole by comparison is an effect of gravitation creating an imbalance in spacetime. The rotational process that results spirals downward or inward and leads to the extinction of reality as we know it, or again, if one is an optimist, creates a wormhole leading either into another universe, or into our own universe at Robin Maconie: Stockhausen’s Cosmic Pulses 2009–14 (copyright) 2 another point in time.
    [Show full text]
  • Karlheinz Stockhausen: Works for Ensemble English
    composed 137 works for ensemble (2 players or more) from 1950 to 2007. SCORES , compact discs, books , posters, videos, music boxes may be ordered directly from the Stockhausen-Verlag . A complete list of Stockhausen ’s works and CDs is available free of charge from the Stockhausen-Verlag , Kettenberg 15, 51515 Kürten, Germany (Fax: +49 [0 ] 2268-1813; e-mail [email protected]) www.stockhausen.org Karlheinz Stockhausen Works for ensemble (2 players or more) (Among these works for more than 18 players which are usu al ly not per formed by orches tras, but rath er by cham ber ensem bles such as the Lon don Sin fo niet ta , the Ensem ble Inter con tem po rain , the Asko Ensem ble , or Ensem ble Mod ern .) All works which were composed until 1969 (work numbers ¿ to 29) are pub lished by Uni ver sal Edi tion in Vien na, with the excep tion of ETUDE, Elec tron ic STUD IES I and II, GESANG DER JÜNGLINGE , KON TAKTE, MOMENTE, and HYM NEN , which are pub lished since 1993 by the Stock hau sen -Ver lag , and the renewed compositions 3x REFRAIN 2000, MIXTURE 2003, STOP and START. Start ing with work num ber 30, all com po si tions are pub lished by the Stock hau sen -Ver lag , Ket ten berg 15, 51515 Kürten, Ger ma ny, and may be ordered di rect ly. [9 ’21”] = dura tion of 9 min utes and 21 sec onds (dura tions with min utes and sec onds: CD dura tions of the Com plete Edi tion ).
    [Show full text]
  • Donna Summer, Giorgio Moroder, and “I Feel Love”
    Thamyris/Intersecting No. 26 (2013) 43–54 Turning the Machine into a Slovenly Machine: Donna Summer, Giorgio Moroder, and “I Feel Love” Tilman Baumgärtel The track “I Feel Love” by Donna Summer still seems to come out of another world. Even though the song was produced three decades ago, it still sounds alien and futurist. And the world, out of which “I Feel Love” came, has been built out of loops, nothing but loops. The song rattles on and on like a machine gun. The loops appear deceptively simple at first. “I Feel Love” is based on the electronic throb of a pattern out of a few synthesizer notes the sequencer repeats over and over and occasionally transposes. But in the framework of these minimalist preconditions the track develops a field of rhythmic differences, deviations, and shifts. The blunt, mechanical thumping of a machine turns into complex polyrhythms, strict rule turns into confusing diversity, and eventually becomes an organism out of repetitions. Even Donna Summer herself eventually got lost in the confusing labyrinth of rhythms in “I Feel Love.” In this essay I want to show how producer Giorgio Moroder succeeded in trans- forming the clatter of the synthesizer loops of “I Feel Love” into an organic pulse with the help of a relatively simple production trick. Then, I want to discuss how “I Feel Love” systematically dissolves and collapses antithetical oppositions. This pro- duction trick not only lends an organic quality to the mechanical loops, but, in the process, amalgamates nature and technology on a musical level.
    [Show full text]
  • From Face-Morphing to Speed- Reading, the 10 Best Apps of 2014
    05/12/2018, 0040 Page 1 of 1 CULTURE From Face-Morphing to Speed- Reading, the 10 Best Apps of 2014 DECEMBER 30, 2014 2:00 PM by FELICITY SARGENT m J f i Our ten favorite new apps of 2014 fall into two categories: apps that make our lives more convenient and apps that make our content more creative. We’ll kick off with creativity and conclude with convenience, in each case suggesting some features that could make these apps even better next year. PHHHOTO In a Nutshell: instantly adds movement to any scene and turns it into a captivating loop, which you can share on its own mobile social network, as a GIF in texts or emails, or as a video on social networks like Facebook and Instagram. Why It Made the List: It’s fun, fresh, the loops look really cool, and it’s a favorite of music and fashion royalty. Wishes for the New Year: an Android version, more cool filters, a strobe light mode that pulses the flash while you shoot for even more zing, and the ability to add tunes and beats to Phhhotos (you can practically already hear them popping off of **Katy Perry’**s and **Diplo’**s). SUPER In a Nutshell: prompts users to quickly make and share square cards that are a cross between memes, quotes, and pictures. The cards are shared on Super’s mobile social network and are also easily shareable on other social networks (Facebook, Twitter, Instagram, etc.). RELATED VIDEO Watch: Bella Hadid on Her 10-Pound Sewn-In Veil leaving with not that much hair.
    [Show full text]
  • An Oral History of Berlin Minimal Techno
    Menu Search Red Bull Music Academy Daily An Oral History of Berlin Minimal Techno A look back at the stripped-down subgenre that defined the German capital from 1998-2008 September 7, 2018 By Joshua Glazer In 1998, the rave scene that gripped Germany after reunification was at its apex. What had started in the literal underground spaces of post-GDR Berlin after the fall of the Wall had gone mainstream, with millions of young people celebrating the colorful culture of electronic dance music all across the country. But the techno utopia envisioned by many as the new millenium approached was already starting to come undone. The trend was swiftly co-opted – ironically, by some of the same capitalist forces that had defeated the communist system a decade earlier. The bubble soon burst, and many of those truly dedicated to the music were forced to rebuild. The result was something that was the opposite of rave’s over-the- top excess, a movement that idealized a minimalist aesthetic in sound, visuals and fashion. It was a lifestyle that resisted the unbridled exuberance of rave in favor of something more sustainable – and sustain it did, with tracks that filled whole sides of vinyl and parties that went on for days at a time. Berlin became the center for this new creative community, drawing in techno practitioners and aficionados from around the world who came for the party and stayed for the ease of living made possible by cheap rents and easy access to artist visas. “Minimal” became the buzzword around this scene, and while overindulgences were aplenty in freewheeling afterhours, the “arm, aber sexy” (poor but sexy) slogan coined by then-mayor Klaus Wowereit could not have been a more accurate appraisal of Berlin’s appeal.
    [Show full text]
  • FUTURE SOUNDS Wie Ein Paar Krautrocker Die Popwelt Revolutionierten
    FVTVRE SOVNDS Wie ein paar »Krautrocker« Christoph Dallach die Popwelt revolutionierten Suhrkamp SV Christoph Dallach FUTURE SOUNDS Wie ein paar Krautrocker die Popwelt revolutionierten Suhrkamp Für Maria (MoisE) Erste Auflage 2021 suhrkamp taschenbuch 4598 Originalausgabe © Suhrkamp Verlag Berlin 2021 Suhrkamp Taschenbuch Verlag Alle Rechte vorbehalten, insbesondere das der Übersetzung, des öffentlichen Vortrags sowie der Übertragung durch Rundfunk und Fernsehen, auch einzelner Teile. Kein Teil des Werkes darf in irgendeiner Form (durch Fotografie, Mikrofilm oder andere Verfahren) ohne schriftliche Genehmigung des Verlages reproduziert oder unter Verwendung elektronischer Systeme verarbeitet, vervielfältigt oder verbreitet werden. Umschlaggestaltung : Büro Dirk Rudolph Druck : C.H.Beck, Nördlingen Printed in Germany ISBN 978-3-518-46598-1 Inhalt Vorwort von Christoph Dallach 7 Kraut 11 DIE FÜNFZIGER Nachkriegsjugend 21 Jazz 50 DIE SECHZIGER Beat 71 Haare 86 WGs 94 1968 103 Neuanfang 127 Drogen 143 Zodiak 153 Kluster 163 DIE SIEBZIGER Kessler 173 Tangerine Dream 187 Kommerz 211 Moog 215 Amon Düül 225 A. R & Machines 244 Eigenpfade 252 Weltenbummler 271 Faust 280 Austausch 314 Can 320 Plank 367 Kraftwerk 376 Neu ! 384 Forst 393 Ausland 404 Staatsfeinde 413 Rolf-Ulrich Kaiser 427 Deutsch 464 Ende 469 Heute 472 Für immer (always) 478 Biografische Notizen 493 Bildnachweise 511 Danksagung 512 Vorwort von Christoph Dallach Meine erste Krautrockplatte gewann ich in einem Preisaus- schreiben. Die Aufgabe bestand darin, innerhalb eines knap- pen Zeitfensters irgendwo anzurufen. Ich kam sofort durch. Vielleicht hatte ich Glück, vielleicht war ich aber auch der einzige Anrufer. Egal, eine Woche darauf war die Platte da : »Movies« von Holger Czukay, mit krakeliger Kugelschreiber- Signatur vom Künstler höchstpersönlich.
    [Show full text]
  • Trouble to Me Choreographed by Julia Wetzel May, 2015 [email protected]
    Trouble To Me Choreographed by Julia Wetzel May, 2015 [email protected], www.JuliaWetzel.com Type of dance: 32 counts, 4 walls, Intermediate Line Dance Music: Trouble (ft. Jennifer Hudson) by Iggy Azalea (Album: Reclassified [Clean]), Length: 2:46, BPM: 106 --Thanks to my daughter Jessica Wetzel for suggesting this song-- Intro: 32 counts (approx. 18 seconds into track) Counts Footwork Facing 1 - 9 Forward Rock, Coaster Step, ¼, ½ Forward, Step, Cross Rock, Side 1, 2 Strong fw rock on R (1), Recover on L (2) 12:00 3&4 Step R back (3), Step L next to R (&), Step R fw (4) 12:00 5 - 7 ¼ Turn right step L to left side (5), ½ Turn right step R fw (6), Step L to left diagonal (7) 9:00 8&1 Cross rock R over L (8), Recover on L (&), Step R to right side (1) 9:00 10 - 17 Cross Behind, ⅞ Unwind, Back Lock Back, ⅜, Step, Kick & Point Back 2, 3 Cross L behind R (2), Unwind ⅞ turn left ending with weight on L (3) 10:30 4&5 Step R back (4), Lock L over R (&), Step R back (5) (body moving back towards 4:30) 10:30 6, 7 ⅜ Turn left step L fw straightening to 6:00 (6), Step R fw (7) 6:00 8&1 Kick L fw (8), Step L next to R (&), Point R back (1) 6:00 18 - 24 ½ Turn Hip Twists, Side, Together, Swivel L, Swivel R Keeping weight on L, twist your hip CW twice making ½ turn right. Twisting hip right (2), left (&), right (3) ending with weight on L and R pointed fw 2&3 12:00 Note: If you’re not able complete the ½ turn with your twists, you can use the following &4 counts to complete the ½ turn &4 Small step R to right side (&), Step/Stomp L next to R
    [Show full text]
  • 'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir)
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Glasgow School of Art: RADAR 'I Spy': Mike Leigh in the Age of Britpop (A Critical Memoir) David Sweeney During the Britpop era of the 1990s, the name of Mike Leigh was invoked regularly both by musicians and the journalists who wrote about them. To compare a band or a record to Mike Leigh was to use a form of cultural shorthand that established a shared aesthetic between musician and filmmaker. Often this aesthetic similarity went undiscussed beyond a vague acknowledgement that both parties were interested in 'real life' rather than the escapist fantasies usually associated with popular entertainment. This focus on 'real life' involved exposing the ugly truth of British existence concealed behind drawing room curtains and beneath prim good manners, its 'secrets and lies' as Leigh would later title one of his films. I know this because I was there. Here's how I remember it all: Jarvis Cocker and Abigail's Party To achieve this exposure, both Leigh and the Britpop bands he influenced used a form of 'real world' observation that some critics found intrusive to the extent of voyeurism, particularly when their gaze was directed, as it so often was, at the working class. Jarvis Cocker, lead singer and lyricist of the band Pulp -exemplars, along with Suede and Blur, of Leigh-esque Britpop - described the band's biggest hit, and one of the definitive Britpop songs, 'Common People', as dealing with "a certain voyeurism on the part of the middle classes, a certain romanticism of working class culture and a desire to slum it a bit".
    [Show full text]
  • The Age of Bowie 1St Edition Pdf, Epub, Ebook
    THE AGE OF BOWIE 1ST EDITION PDF, EPUB, EBOOK Paul Morley | 9781501151170 | | | | | The Age of Bowie 1st edition PDF Book His new manager, Ralph Horton, later instrumental in his transition to solo artist soon witnessed Bowie's move to yet another group, the Buzz, yielding the singer's fifth unsuccessful single release, " Do Anything You Say ". Now, Morley has published his personal account of the life, musical influence and cultural impact of his teenage hero, exploring Bowie's constant reinvention of himself and his music over a period of five extraordinarily innovative decades. I think Britain could benefit from a fascist leader. After completing Low and "Heroes" , Bowie spent much of on the Isolar II world tour , bringing the music of the first two Berlin Trilogy albums to almost a million people during 70 concerts in 12 countries. Matthew McConaughey immediately knew wife Camila was 'something special'. Did I learn anything new? Reuse this content. Studying avant- garde theatre and mime under Lindsay Kemp, he was given the role of Cloud in Kemp's theatrical production Pierrot in Turquoise later made into the television film The Looking Glass Murders. Hachette UK. Time Warner. Retrieved 4 October About The Book. The line-up was completed by Tony and Hunt Sales , whom Bowie had known since the late s for their contribution, on bass and drums respectively, to Iggy Pop's album Lust for Life. The Sydney Morning Herald. Morely overwrites, taking a significant chunk of the book's opening to beat Bowie's death to death, the takes the next three-quarters of the book to get us through the mid-Sixties to the end of the Seventies, then a ridiculously few yet somehow still overwritten pages to blast through the Eighties, Nineties, and right up to Blackstar and around to his death again.
    [Show full text]